Low C Bass Clarinets – Buffet vs Selmer27th September 2018
The Bass Clarinet is quite simply a majestic instrument in many ways. If you’ve never seen a low C professional model it’s a piece of engineering and natural beauty. The elegant grenadilla joints filled with keywork make it look mesmerisingly complicated! However, with patience and practice the Bass can be a very expressive and versatile instrument in Orchestral and Jazz situations.
Whilst there are a few options in the market, including Yamaha and Uebel, the main choice for most players looking for a low C comes down to Buffet vs Selmer. We wanted to take a quick look at some of the models and differences with this blog…
Backun Clarinet Barrels – How to choose
One of the most popular accessories we sell for Clarinets is additional barrels and bells. This is a great way to change your tone and response without having to mess about with mouthpieces which can take much more getting used to. The Backun range of clarinet barrels have led the way for these upgrades due to the quality of materials and design.
Backun produce various models in two different materials, so let’s take a look at the range and discuss how they can improve your sound… (more…)
Johnny Hodges: Small Group Maestro15th September 2018
“Johnny Hodges had the most beautiful tone of any saxophonist in jazz.”
– Scott Yanow
“Johnny Hodges was one musician who never had to sell himself. All he had to do was blow.”
– Budd Johnson
“His way of playing, whether smooth or passionate, his incisive attack and extraordinary skill in the art of glissandi, always made him instantly recognizable.”
– Boris Vian
I have talked to several people who, like me, were privileged to see and hear Johnny Hodges, and frequently they speak about his apparent lack of involvement. “He just walked to the front and played. I don’t even think he tapped his foot” and “He seemed slightly bored” are some of the comments I have heard over the years. Critics also commented about his demeanour: “the super-placid Johnny Hodges” is how George Avakian described the great saxophonist; Philip Larkin referred to him as “the inscrutable altoist”.